HOW TO: Write Like a Pro
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1 Want to hook the audience and keep their eyes glued to the screen while watching your film? The key isn t tricky camera work or over the top dialogue. It s story. With it, the audience is yours. Without it, they ll get bored and start to lose interest. In this guide: The Idea You won t get very far without one of these. The Hero How do you take your idea and make it work for a film? The Structure To be a story, you ll need a beginning, a middle, and an end. Outline Get your story out on paper. Script Put your story in a format that everyone can use to make your film happen. The Idea To build a story, you need an idea. The best way to come up with ideas is to brainstorm. Find some people you get along with and start throwing around some thoughts. There are no rules. You could write a love story set in a bank, or a zombie sock puppet invasion. You re only limited by your imagination! Eventually you ll need to settle on one idea. It s tempting to try and cram a whole bunch of different ideas into one film, but it s important to pick one thing and run with that. It ll just make your film much stronger. Plus, your leftover ideas aren t wasted; you can keep those for another film! Proudly supported by
2 The Hero To write a story, you ll need a hero. We call the main character in a story the protagonist. The protagonist is the one that drives the story forward. Based on your story idea, who is the protagonist? Finding them is the first step. At the end of your film, you should reach some sort of resolution. Imagine if we never found out if Luke Skywalker faced Darth Vader, or whether or not Frodo finally managed to cast the One Ring into the fires of Mordor. We d be pretty annoyed. By the end of your story, the protagonist must succeed or fail. As the storyteller, it s up to you what happens. Protagonist: the hero or lead character of the story. Antagonist: the villain or adversary of the hero. A protagonist must: have a goal have an obstacle stopping them from reaching the goal put themselves at risk to achieve the goal This is how you get your audience engaged. People love to watch characters work to achieve their goals, but it s only exciting if they might fail miserably. For example, in Pirates of the Caribbean, Captain Jack Sparrow desperately wants his ship - the Black Pearl. Everything he does - whether it s breaking out of prison, stealing another ship, or bargaining with his enemy - is part of an attempt to get it back, and at every point he s putting himself at risk. But it s not just adventure movies. Every story needs a goal, obstacle, and risk. For example, you might have a love story about Jenna and Tom. Jenna wants Tom (goal), but Tom doesn t notice her because she s shy (obstacle). To get Tom s attention, Jenna s going to sing at a school concert, despite never having sung in front of anyone before (risk). It could be as simple as a dog wanting to get a treat without getting into trouble. Can he reach the biscuit (goal) up on the kitchen bench (obstacle) without his owner seeing him and putting him outside (risk)? The Structure Every story needs a beginning, a middle, and an end. In the beginning, you need to quickly set up your protagonist, their goal, and the obstacle. You ll lose your audience quickly if they don t understand why they re watching your film. In the middle, your protagonist will put themselves at risk to achieve the goal. But the obstacle will only get bigger, or the risk far worse. That s called escalation. You should always make sure things in your story get harder for your characters, not easier. It keeps your audience interested. At the end, your protagonist will either achieve their goal, or fail. How it ends is up to you, but you must finish what you started at the beginning of the film. Don t let another character suddenly enter and save the day. Your protagonist is the one the audience is paying attention to - if you make someone else the hero, you ll just confuse them. Outline By now you ll have a protagonist with their goal, and you ll know the beginning, middle and end of your story. Doing an outline helps you make sure your whole story is there. You can write this as point form by listing the things that happen in your story. Or, you could write it like you would a normal written story. It can be as simple or as detailed as you like. Get your story out on paper, then you can use it as a basis for your script. Test your knowledge. Think of your favourite movie. Who is the protagonist? What do they want? What s stopping them? RISK PROTAGONIST GOAL OBSTACLE
3 Script The script will be used by everyone else involved in the production. This is the last step in creating your story. It s kind of like the blueprint for the film. The director will choose the shots based on the scenes and action you write. The actors will play their characters based on your descriptions and choices of dialogue. It can be extremely detailed or quite simple, as long as the story and character is on the page. When you write your script, you need to think visually. Your audience won t get to see the script, so only write things they ll see in the film. Instead of writing descriptions about what your characters are thinking, come up with ways of showing what they re thinking. For example, instead of saying a character misses their dog, you can have them look at a picture of their dog and sigh. Here is an outline of a magnificent story. As you read it, see if you can identify the protagonist, the goal, the obstacle, and where the protagonist puts themselves at risk. OUTLINE Kate grasped the sword, but could not pull it from the stone. C mon she said, pleadingly as another Drag-lephant (like a dragon crossed with an elephant) readied to charge at her. With no where to run, Kate continued to battle with the imprisoned blade but the stubborn sword would not budge. The Drag-lephant charged and Kate made a final attempt at wrenching the sword free, but with the beast mere metres away she held out the palm of her hand. Stop! Kate demanded. The Drag-lephant dug it s talon crested hooves into the sand and came to a grinding halt. Calmly, Kate said Look, I would really like to do battle with you but I can t get this sword out of this dumb stone, can we do this another time? The beast was stunned, it exhaled smoke and ash from its large nostrils, turned and walked away. Kate bolted upright in her bed, it was all a dream. Her alarm clock was sounding, it was morning and time to get ready for school. THE END Writing your film in the established script format will help you see roughly how long your film will be. 1 scripted page is approximately 1 minute of screen time. Using this as a guide will help you keep your film to the MyState Student Film Festival 5 minute limit. On the following page is a scripted version of that exact scene, you can use this example as a basic map if you choose to script your outline before shooting.
4 SCRIPT Here s how that story looks as a properly formatted film script. Short for exterior, EXT. if outside location / INT. if inside location Where is the scene? A Kitchen? Park? What time is it? Day or night? EXT. DESERT - DAY Kate, a small fifteen year old girl stands before the sword in the stone, her hands grasping the hilt. A Drag-lephant, a cross between a dragon and a elephant, stares at her, preparing to charge. Kate pulls on the sword but it does not move. Action, this describes everything the camera must see in your story. Notice how action is always in present, not past, tense Character s name, centred and in capitals (pleading) C mon! Dialogue, what the character says and how it s said Kate looks around her, there is no cover, nowhere to hide from the beast. The Drag-lephant charges. Kate pulls at the sword with all her strength but it does not budge. The beast is bearing down on her. Kate tries one final time to retrieve the sword. The Drag-lephant is now mere metres away. Kate stops trying to free the sword, she holds out the palm of her hand. (demanding) Stop! Capitals within Action for sound, i.e if a balloon POPS or a book is SLAMMED shut The Drag-lephant digs its talon crested hooves in to the sand and comes to a GRINDING halt, right in front of Kate s hand. (calmly) Look, I would really like to do battle with you but I can t get this sword out of this dumb stone, can we do this another time? The beast is stunned. It exhales ash and smoke from its flared nostrils, turns and walks away. INT. S BEDROOM - MORNING An alarm clock BEEPS. A school uniform hangs over a chair. Kate bolts upright in bed. Changed location means new scene, now we are interior and it s Kate s bedroom, in the morning FADE OUT Visual storytelling - showing the uniform in the scene will tell the audience that it s a school day
5 Summary Story is the most important element of filmmaking. You should now have all the tools you need to get started building your own. Brainstorm an idea. Pick a protagonist. Give them a goal and an obstacle. Put them at risk. Form a beginning, middle and end. Put your story together in an outline. Write your script.
put forward. Let your imaginations run wild for a bit, and let the best idea win, no matter where it comes from.
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